Alexander Grodzinski

Neu von Quartet: Quartet Records, in collaboration with NHK Enterprises, presents the long-awaited reissue of Japanese composer Toshiyuki Watanabe’s impressive symphonic score for the 2004 documentary mini-series ROMAN EMPIRE. Produced by the Japanese national public television channel NHK, ROMAN EMPIRE consists of three episodes in which we are shown the birth, rise and decline of the third period of Roman civilization in classical antiquity. It chronicles a fascinating multicultural journey that begins in the ruins of Timgad (Algeria) and then stops in cities like Pompeii and ends in Britain, the ancient Britain of the Roman Empire, which under the command of Emperor Hadrian began its inexorable decline and destruction. To show musically how this mixture of various races, languages and religions was dominated by the same power while also prospering from many improvements in urban infrastructure, politics, culture, etc., Watanabe provides a sensitive, powerful, highly melodic score. The opening theme, “Far Away Rome,” performed by Bosnian singer (based in Japan) Jadranka Stojaković and Spanish guitarist Masayoshi Furukawa (one of the best performers in the world), is a real stand out. Both elements, boasting a markedly Mediterranean air, join with the virtuosity of the Japanese master’s arrangements to fully immerse us in the journey.The original album was released only in Japan in 2004 in a very limited print run. Due to the impact of the score, it became a holy grail for the most demanding collectors for two decades. This new edition has been remastered by Chris Malone from the original album stereo master tapes. The package includes a preface and track-by-track commentary written by the composer himself, as well as an essay by Juan Ramón Hernández Almagro and an exclusive interview with maestro Watanabe. Tracklist: Far Away Rome (Opening Theme) (1:42) Light of Rome (2:53) Rich Rome (3:43) The Strongest Military Nation (3:09) Fate (4:50) The Cornerstone of Prosperity (3:09) Remaining Mysteries I (2:57) An Ever-Expanding Empire (3:53) A Giant Estate on the Verge of Collapse (2:52) Remaining Mysteries II (4:19) Civic Decadence (4:06) Far Away Rome (Main Theme) (3:47) Quartet Records, in collaboration with Solisterrae Music, presents the soundtrack album of a new score by Goya Award-winning composer Pascal Gaigne (ERREMENTARI, HANDIA, EL FARO DE LAS ORCAS, PIEDRAS) for a new film directed by Benito Zambrano. EL SALTO is a social drama-thriller about Ibrahim, who arrives in Spain from Guinea-Conakry, settles in Madrid and establishes a life there for himself and his family. One day he is arrested by the police and deported to his home country for lacking a residence permit. From that moment on, his only goal is to return to Spain. After traveling through Africa, he settles in a refugee camp located between Africa and Europe. There he meets Aminata, a girl determined to jump the border fence separating Morocco from North African Spanish territory. This, however, is a physical feat that not everyone can achieve. Pascal Gaigne has written a very emotional and sensitive score. Performed by the Bratislava Symphony Orchestra under the baton of David Hernando Rico, it features different soloists acting as the inner voices of the characters – especially cello, laud (a Spanish folk cittern) and percussion. This album represents, once again, the powerful and unique voice of Pascal Gaigne within the contemporary European film music community. Tracklist: El salto / Ibra / Redada (3:47) El viaje (3:03) En la comisaría (1:33) Ibra (1:42) Ousman (2:12) Deportación (2:54) Encerrados (0:34) Confianza (0:32) Cet Homme est Mort (1:27) El viaje 2 (1:18) Merci Madame (0:59) Campo (0:54) Melilla (0:47) Cuisinière (1:05) Policier en civil (0:53) El salto 2 (1:05) Football Dream (0:33) Cloture (2:18) Courez ! (3:54) Aminata (3:03) El salto 3 (0:37) Última noche (2:18) Chacun son Dieu (0:51) El salto 4 (7:44) El viaje (3:25)

Kurz vor Dougs Tod hat Intrada auf Facebook das Profilbild zu dem zeigenden Finger vom Plakat von IN HARMS WAY geändert. Vielleicht eine indirekte Ankündigung auf eine neue Veröffentlichung?

Auch auf Vinyl.

Und weiter geht es in der „Rob Zombie presents"-Reihe. Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks! “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker. “I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie Rob Zombie and Waxwork Records are thrilled to announce the debut vinyl release of THE LAST MAN ON EARTH Original Motion Picture Score by Paul Sawtell & Bert Shefter. The Last Man On Earth is a 1964 post-apocalyptic science fiction horror film based on the 1954 novel I Am Legend by Richard Matheson. Starring Vincent Price, the plot follows Dr. Robert Morgan (Price) who lives in a world where the human population is infected by a plague that has turned them into undead, vampiric creatures that cannot stand sunlight, fear mirrors, and are repelled by garlic. Every day, Morgan follows a routine where he marks days off the calender and sets out to hunt the vampires, killing as many as he can and then burning the bodies. After working together on the successful release of the official soundtracks to Zombie’s films House of 1000 Corpses, The Devils Rejects, 3 From Hell, The Lords of Salem, Halloween 1 & 2, and The Munsters, Zombie explored other ways to collaborate with Waxwork in an effort to unearth, re-master, and release classic, left-of-center Horror soundtracks from films that he is a life-long fan of. The line of soundtracks features deluxe packaging, heavyweight colored vinyl, new artwork by prominent Horror illustrator Graham Humphreys, liner notes and interviews conducted by Rob Zombie with filmmakers and actors. Titles include premiere releases of Spider Baby, Carnival Of Souls, The Last Man On Earth, The House On Haunted Hill, The Legend of the Seven Golden Vampires, and many selections from the HAMMER film library. Rob Zombie Presents THE LAST MAN ON EARTH Original Motion Picture Soundtrack Features: The Complete Score by Paul Sawtell & Bert Shefter Available For The First Time On Vinyl 2xLP 180 Gram Neon Green Vinyl with Green & Yellow Splatter Exclusive Interview by Rob Zombie with Victoria Price New Artwork by Graham Humphreys Deluxe Heavyweight Gatefold Packaging with Matte Satin Coating 11"x11" Booklet

Snow Files of the Week: "Catalogued/Deny Everything/Blood on Paper" aus The X-Files, Episoden "Duane Barry" and "Ascension" (1994). Ein klassischer X-Files-Zweiteiler aus der zweiten Staffel der Serie. Und mit Duane Barry eine der markantesten Figures des X-Files-Universums, aufwühlend manisch gespielt von Steve Railsback. Barry wird seit langer Zeit in manchen Nächten von Aliens heimgesucht, die immer wieder Experimente an ihm durchführen. Als eine erneute Heimsuchung kurz bevor steht, dreht Barry durch und nimmt in einem Bürogebäude einige Geiseln. Die Polizeit hält ihn natürlich nur für einen gefährlichen Irren, aber Mulder ist an den Heimsuchungen interessiert. Mulder gelingt es, Barry zu überlisten und dieser wird angeschossen in ein Krankenhaus eingeliefert. Doch Barry spielt nur zum Schein mit, bricht aus dem Krankenhaus aus und entführt Scully, die er an seiner statt den Besuchern für ihre Experimente überlassen will. Er bringt sie nachts auf den Skyland Mountain, von wo aus er zum ersten Mal entführt wurde. Als Mulder eintrifft, bemerkt er nur noch ein helles Licht am Himmel und findet Barry alleine vor. Scully ist verschwunden. Mark Snow untermalt diese Doppelfolge mit sehr melancholisch-mystischen Klängen. Die kurzen Motive für den Raucher und die Verschwörer tauchen immer wieder auf, da diese natürlich auch ihre Finger im Spiel haben. Die Tracks stammen vom vierten Set X-Files-Musik von LLL. Das Set ist auf 2.000 Exemplare limitert. Viel Spaß beim Hören!

Douglass Fake, Prolific Soundtrack Producer, Has Died at 72 Douglass Fake, an independent record producer (with over 700 credits) and a champion of classic film music restoration for four decades, died after an extended illness on Saturday morning, July 13, in Richmond California. Mr. Fake’s many producing credits include the first complete restoration of Leonard Bernstein’s On the Waterfront, a massive 5-CD release of Elmer Bernstein conducting his music from The Ten Commandments and the premiere of a half-dozen Henry Mancini underscores including Breakfast at Tiffany’s (previously only available in abridged pop recordings). He also supervised the re-recording of a dozen albums of classic film music, most recently Bernard Herrmann’s music for Alfred Hitchcock’s The Man Who Knew Too Much, as well as Miklos Rozsa’s Ivanhoe, Julius Caesar, and Spellbound. Mr. Fake was born on February 23, 1952, in Massachusetts to Charles and Jeanne Fake, an Air Force family that moved frequently from east to west coast and back again. Colonel Fake served as an SAC wing commander, and notably pushed the launch button on John Glenn’s historic orbital mission in 1962. That also placed Douglass, his older brother, Glenn, and younger sister, Peggy, in the middle of the Cuban Missile Crisis at Patrick AFB south of Cape Canaveral. His experience would be immortalized musically in one of the record albums he produced, Jerry Goldsmith’s Matinee. Like many fans turned professional, Mr. Fake’s passion emerged at an early age. His sister Peggy recalls, ”We shared a bedroom in grade school, and Doug played the soundtrack to Taras Bulba on repeat endlessly, while slashing the air (conducting most likely) with his plastic sword.” The theaters on base changed programs almost daily, so he spent more time at the movies than watching TV, studying the credits on screen, scrutinizing the posters hung in the lobby and humming the tunes he heard as he searched the small record shop at the base PX. He bought every soundtrack LP he could find, but many film scores he sought were unavailable. Mr. Fake was a boxer and trumpet player in high school, and enrolled in the University of Colorado to study music in 1970. His brass instructor was Hugh “Mac” McMillan, a fearsome professor who reputedly told a young Glenn Miller that he “had no future in music.” Fake survived the ordeal, and met a fellow band student by the name of Mary Ann Jacobs—after a “meet cute” involving the schools’ real life and stuffed Buffalo mascots, they became friends and eventually married in 1974. While in college, Douglass wrote and recorded a number of symphonic band pieces, and for a while it looked as though Mr. Fake might follow in Mac’s footsteps as a music teacher. His then-current job at the Discount Records chain was not enough to support the family, so when Mary Ann was offered a job as a CPA, they relocated to San Francisco. Mr. Fake soon set up shop with a table of used and rare soundtrack LPs in a movie poster shop called Cine Monde on Vallejo street. But over the course of a few years, his sales were sufficient to assume the store’s lease and rename the shop Intrada. The only problem? There was a vast, unreleased catalog of film music that he and other aficionados sought to hear apart from the movies. So, in 1985 he assembled a small band of investors and cold-called composer Basil Poledouris, who had risen to prominence after writing the score to Conan the Barbarian. He introduced them to MGM music supervisor Harry V. Lojewski and a deal was struck to release the label’s very first soundtrack—Red Dawn starring Patrick Swayze and Lea Thompson. That LP sold for a whopping $40 at the time, but it proved that there was a market for albums more focused on underscore than pop songs. More importantly, it led to a crucial introduction that would launch the fledgling label and a lifelong friendship. Mary Ann Fake recalled the stunned look on her husband’s face as she handed him the receiver over the dinner table. “Doug, Jerry Goldsmith is on the phone. Yes, that Goldsmith!” The storied composer of Patton and Chinatown had learned that Intrada was willing to release his next score, Poltergeist II, and wanted to talk to the producer personally. It was a huge financial risk for Fake, but it led to 85 releases of Goldsmith music, many produced shoulder-to-shoulder by the two men. Notably, they premiered three favorite scores in new recordings, including Islands in the Stream, which led to an ongoing series of albums presenting music otherwise lost to the ages. Intrada’s success with Goldsmith opened the doors to many other partnerships, including Laurence Rosenthal, an Oscar nominee for Becket, with 19 albums on the label including The Miracle Worker and Clash of the Titans. Bruce Broughton, an Oscar nominee for Silverado, followed with 50 albums including the best-selling Tombstone, still in print. Oscar-winner James Horner of Titanic fame released 40 albums on Intrada, including Troy and several of his animated films. Sara Horner recalls the pleasure the association brought her late husband. “Doug meant a great deal to James. He always supported his music, both technically and artistically, with great care. For James, this support was invaluable.” This care extended even to Horner’s modest first score, The Lady in Red, which premiered on the label 45 years after the film’s debut. Fake was generous with colleagues and competitors alike, often helping to source missing parts, explain historical anomalies, and tackle projects near and dear to his heart—even if they ended up on someone else’s label. “Doug was a true pioneer who kindled the passion for film music when it was a mere ember,” says Lukas Kendall, producer for Film Score Monthly. “He was also a mentor and collaborator who was endlessly knowledgeable with an incredible ear for detail. I will always remember his enthusiasm for a new album, score or composer.” Considering his ear for soundtracks and musical skill, it may seem surprising that Douglass never seriously pursued composing for film. He got the opportunity from Jeff Johnson, his store manager since 1990, to write music for an indie feature called Holly vs. Hollywood. Johnson chuckles as he remembers, “The movie never got a proper release, but we sold a lot of copies of the soundtrack at the store! I told him that he could have a successful career in the industry, working as an orchestrator.” His success led to some interest from an agent in Los Angeles, but ultimately Douglass chose to focus on his family, which had now grown to include two daughters, his store and label. Running a retail operation in the 1990s was harrowing, especially with traditional distribution methods that required shipping thousands of copies in small batches to stores around the world—only to wait months for reimbursement or, worse, returns of unsold, shopworn CDs. This led Mr. Fake and his team to close up shop in San Francisco, move to a new location in the Oakland Hills near his home, and take their business online. The resulting economies set the stage for his most prolific years, averaging 40 albums a year for a decade. Big sellers like Alan Silvestri’s Back to the Future and Goldsmith’s Alien kept the operation afloat and enabled Mr. Fake to pursue more obscure favorites. In addition to being an artist-friendly label, Mr. Fake was scrupulous in all business dealings, so that he was able to work with every major film studio in Hollywood, starting with 20th Century Fox, Warner Bros., Paramount, Sony, MGM/UA and Universal. His reputation even led to an unprecedented offer from Walt Disney—which customarily does not license soundtracks—but led to physical media releases of new titles like The Avengers and Toy Story 3 as well as chestnuts like Hocus Pocus and 20,000 League Under the Sea. As the market for streaming music explodes, the collectors who prefer CDs cling to their physical media, and with good reason: more than half of Intrada’s output is still unavailable on streaming platforms, and may never be. But because of Mr. Fake’s efforts, the studios now possess pristine digital copies of what were often decaying, unplayable tapes, acetates and ancient film that have been lovingly restored and returned to their vaults. So maybe one day, it all could be available again. But why does someone commit themselves to what must be acknowledged to be a niche market, and obscure interest? Millions of people enjoy the movies, but a relatively small percentage actually recall the underscore, if they notice it at all. No less an authority than Bernard Herrmann once said “No one knows why films need music, but no film is complete without it.” Douglass Fake had his reasons. At the 30th anniversary celebration of his company, before a crowd of more than 100 composers, professionals and fans in LA’s Walt Disney Concert Hall, Fake said, “I had a disagreement with an instructor in college about film music vs. concert music. He actually threw me out of class when I proved that Ralph Vaughn Williams’ Seventh Symphony had its origins as a soundtrack (in Scott of the Antarctic). I vowed then to prove that film music was as substantial as any classical composition, and deserved to be brought from the background into the foreground. And that’s what we do.” Today, there remains a healthy slate of projects in various stages of completion at Intrada, all bearing Douglass Fake’s influence if not direct participation. Roger Feigelson, VP of business affairs, says “We plan to continue operation of the store and label well into next year, to celebrate Intrada’s 40th anniversary. We’re excited to share some titles that have been in development for a long time. The business is healthy. the market is stable—it just won’t be as much fun without Doug. We miss him already.” Mr. Fake is survived by his sister Peggy, his wife Mary Ann, daughters Regina and Veronika, and granddaughter Amelia. A celebration of his life and other tributes will be announced shortly. For more information visit Intrada.com Joe Sikoryak, July 15

Intrada announces the CD release of Jerry Goldsmith's music composed for The General Electric Theater, previously recorded with the City of Prague Philharmonic Orchestra and reconstructed and conducted by Leigh Phillips. Phillips spearheaded several Kickstarter campaigns to fund the recording of these scores for digital release. Now Intrada presents these recordings on compact disc. The General Electric Theater was the longest running anthology TV series at ten seasons, largely featuring scores by Elmer Bernstein (featured on a previous Intrada release). Until Phillips had recorded the Goldsmith scores, they had never been available. While it is difficult to confirm how many scores Goldsmith composed for the series, his earliest is Hitler's Secret dating back to 1959, with the latest being The Bar Mitzvah of Major Orlovsky from 1962. This new album consists of some scores that survived in written form and others that Leigh Phillips was able to reconstruct by ear using the episode audio. This set includes the following episodes: Hitler's Secret, The Last Dance, Sarah's Laughter, The Committeeman, The Legend That Walks Like a Man, My Dark Days, and The Bar Mitzvah of Major Orlovsky. Also included is Autumn Love, a suite composed for the CBS music library. The General Electric Theater aired from 1953 to 1962. Hosted by Ronald Reagan for much of its run, the show featured a wide range of dramatic and comedic stories, often showcasing well-known actors of the time. Each episode was a standalone story, covering themes from suspense to romance, and sometimes included adaptations of famous literary works. The series was notable for its high production values and contributions from prominent directors and writers, making it a significant part of television history during the 1950s and early 1960s. Play all clips HITLER’S SECRET 01. The Beginning/The Plan/The Visit (1:49) 02. Sick Man/Papa’s Orders/The Truth (2:32) 03. The True Son/Secrets/False Witness (2:59) 04. The Arrest/The Lie (1:24) 05. End Credits (0:47) Total Time: 9:31 THE LAST DANCE 06. Newlyweds (0:56) 07. Problems/Burnt Shirt (2:50) 08. New Dress/Phone Call/For Better Or Worse (2:46) 09. Good Mother/End Credits (1:55) Total Time 8:27 SARAH’S LAUGHTER 10. Main Title (1:18) 11. Baby Book/Caught In The Act (1:55) 12. The Getaway/Birthday Present/Waiting (3:15) 13. The Decision/New Child/End Credits (3:31) Total Time: 9:59 THE COMMITTEEMAN 14. Main Title (0:53) 15. The Prediction/The Victor/The Dark Room (2:03) 16. The Ring (1:53) 17. The Poster/The Election (1:13) 18. The Boy (2:05) 19. The Big Man (0:23) 20. End Credits (0:47) Total Time: 9:17 THE LEGEND THAT WALKS LIKE A MAN 21. Main Title/Neglected Genius (2:31) 22. Here You Are/The Convincer/Unduly Generous (1:51) 23. Image Of Desire (1:08) 24. That’s A Wrap/The Legend & The Man (1:35) 25. End Credits (1:21) Total Time: 8:26 MY DARK DAYS 26. Intro/Prelude (0:46) 27. Flashback/Early Days (1:45) 28. Join Us (1:39) 29. Recess (1:06) 30. Bumper/The Visitor (0:35) 31. The Jumper (2:05) 32. Exit Flashback/Let’s Go Home (0:46) 33. Aftermath/Ashamed (1:07) 34. Bullies/Something Unpleasant/The Window (2:01) 35. Why/Breaking Point/The Door (1:40) 36. Reconciliation (0:16) 37. End Credits (1:08) Total Time: 14:54 THE BAR MITZVAH OF MAJOR ORLOVSKY 38. Main Title (1:12) 39. The Listener/Date/Forgive Me/Bumper (2:01) 40. Teach Me/Lessons (2:56) 41. Goodbye/The Request/End Credits (3:17) Total Time: 9:26 AUTUMN LOVE 42. Part 1 (0:48) 43. Part 2 (1:35) 44. Part 3 (1:43) 45. Part 4 (1:39) 46. Part 5 (1:34) 47. Part 6 (1:16) 48. Part 7 (0:33) Total Time: 9:08 CD Total Time: 79:08

Snow Files of the Week: Suite aus „The Substitute Wife" (1994). „The Substitute Wife" ist ein TV-Drama von 1994, mit Peter Weller, Lea Thompson und Farrah Fawcett in den Hauptrollen. Angesiedelt während der amerikanischen Pionierzeit erzählt der Film die Geschichte einer Farmerin, die im Sterben liegt. Weil sie Angst hat, dass ihre Familie ohne sie auseinanderbricht und sie die Farm verlieren, heuert sie eine Prostituierte an, die ihren Platz einnehmen soll. Mark komponierte einen warmherzigen Orchester-Score, fernab düsterer Klanglandschaften, mit einem leichten Folk-Einschlag. Das prägnante Main Theme, welches bereits auf dem Sampler „The Snow Files" veröffentlicht wurde, zieht sich durch den ganzen Score. Mal mit einer Oboe als Soloinstrument, mal mit dem Klavier. Das Album wurde digital von BSX veröffentlicht. Viel Spaß beim Hören!

Citadel Records, a division of BSX Records, presents FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 3, THE GREAT LADIES featuring music from several films from the composer’s lengthy filmography, focusing on films centered on the popular leading ladies of the period. The music is performed by the Queensland Symphony Orchestra, conducted by Richard Mills. FRANZ WAXMAN: LEGENDARY HOLLYWOOD VOL. 3 includes music from WOMAN OF THE YEAR, PEYTON PLACE, POSSESSED, COME BACK LITTLE SHEBA, ELEPHANT WALK, MY GEISHA, MY COUSIN RACHEL, MR. SKEFFINGTON and THE NUN'S STORY. Composer, conductor and impresario, Franz Waxman was best known for his prolific career as a composer for the motion picture industry, spanning 150 scores throughout the 1930-1960s. Waxman won two Oscars for Best Score, was nominated twelve times and was the first to receive the honor in two consecutive years. Waxman was also an accomplished concert composer and conductor. In 1947, Waxman founded the Los Angeles Music Festival and, over the course of two decades, used it as a platform to champion American composers and introduce significant international composers with over seventy premieres, including work by Stravinsky, Shoenberg and Shostakowitz. His massive filmography includes legendary films such as BRIDE OF FRANKENSTEIN, REBECCA, SUSPICION, WOMAN OF THE YEAR, SUNSET BLVD, A PLACE IN THE SUN, THE SPIRIT OF ST. LOUIS, SAYONARA, PEYTON PLACE, THE NUN’S STORY, THE STORY OF RUTH, MY GEISHA, TARAS BULBA and many, many more. Richard Mills is a central figure in Australia’s musical life. He is one of the country’s most frequently commissioned and performed composers and a regular guest conductor of all Australia’s leading orchestras. Mills pursued his advanced musical studies under Edmund Rubbra (composition) and Gilbert Webster (percussion) at the Guildhall School of Music, London. He is currently the artistic director of Victorian Opera, and formerly artistic director of the West Australian Opera and artistic consultant with Orchestra Victoria. He was commissioned by the Victoria State Opera to write his opera SUMMER OF THE SEVENTEENTH DOLL and by Opera Australia to write the opera BATAVIA. Since its first concert in March, 1947, the Queensland Symphony Orchestra has established itself as a major cultural force within the city of Brisbane and the state of Queensland, Australia. Over 100,000 people attend more than 100 performances by the orchestra each year. This series of recordings is a natural progression from SUNSET BOULEVARD: THE CLASSIC FILM SCORES BY FRANZ WAXMAN, which Charles Gerhardt recorded with the National Philharmonic for RCA in the 1970s. Like that disc, most of the music heard in this series was faithfully reconstructed from the original scores especially for these recordings. Originally presented as four volumes of LEGENDS OF HOLLYWOOD: FRANZ WAXMAN on compact disc by Varese Sarabande in the 1990s, those volumes have become very scarce over the years. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace in a series of new volumes with the music newly remastered by James Nelson at Digital Outland and liner notes written by John Waxman and author Randall Larson. Ships on July 15th. 1. WOMAN OF THE YEAR Suite 4:21 2. PEYTON PLACE 9:39 Suite: Prelude; Entering Peyton Place; Going to School; Swimming; The Hilltop 3. POSSESSED Suite 12:06 4. COME BACK LITTLE SHEBA Reminiscences For Orchestra 5:35 5. ELEPHANT WALK 12:33 Suite: Prelude; The Plantation; Appeal for Help; Cylon Romance; Elephant Stampede & Finale 6. MY GEISHA 6:31 Suite: Prelude; Work Montage & Wedding;Good-bye Love (Finale) 7. MY COUSIN RACHEL 7:27 Suite: Prelude; Tisana; Philip's Birthday; At Night & Finale 8. MR. SKEFFINGTON Suite: Forsaken & Finale 5:09 9. THE NUN’S STORY 11:03 Suite: Prelude; I Accuse Myself; Haircutting; The Killing Of Aurelie; Finale Total Time: 74:46 Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 7: FILM NOIR THRILLERS #1. With this seventh collection of the composer’s music, we are pleased to explore two more films from the composer’s vast filmography, PLEASE MURDER ME and TREASURE OF MONTE CRISTO. Both of these scores demonstrate Albert Glasser’s capability to craft a powerful soundtrack with limited means. Released in 1956, PLEASE MURDER ME is a first-rate noir thriller. Directed by Peter Godfrey (HOTEL BERLIN, THE TWO MRS. CARROLLS, THE WOMAN IN WHITE) from a screenplay from Donald Hyd and Al C. Ward, PLEASE MURDER ME stars Raymond Burr, Dick Foran, and Angela Lansbury. Glasser provides a suitable orchestral score that fits the film’s noirish oeuvre, bolstered by the frequent use of theremin. Released in 1949, TREASURE OF MONTE CRISTO, a fast-moving modern American suspense/noir crime drama directed by William Berke (ISLAND WOMEN, FOUR BOYS AND A GUN, F.B.I. GIRL, FURY OF THE CONGO, TRAIN TO TOMBSTONE, CAGED FURY). Starring Glenn Langan (Edmund Dantes), Adele Jergens (Jean Turner), and Steve Brodie (Earl Jackson), the film is a mix of historical fiction and modern crime drama about a crooked San Francisco lawyer (Earl) who uses a beautiful blonde (Jean) to lure a merchant seaman (Ed, a descendant of the Count of Monte Cristo) into a trap to locate a fortune in jewels that disappeared thirty years before from a castle in southern France. Filmed entirely in San Francisco, Albert Glasser gives the movie a splendid orchestral score that accommodates both the film’s storyline and the monochrome background of 1949’s San Francisco. Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 7: FILM NOIR THRILLERS #1, featuring original music composed by Albert Glasser for PLEASE MURDER ME and TREASURE OF MONTE CRISTO, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted film music journalist and author Randall D. Larson. THE ALBERT GLASSER COLLECTION VOLUME 7: FILM NOIR THRILLERS #1 is a limited edition release and is expected to begin shipping the week of July 15th, 2024. PLEASE MURDER ME 1. Prologue / Main Title / Dictation (3:56) 2. I’m In Love With Her Joe / Give Me A Couple of Days To Kick It Around (3:57) 3. Quit Livin’ In A Dreamworld Lou / Chalk Him Off and Dust The Place (4:15) 4. That Is All / I Am That Man (0:58) 5. The Letter /She’s In Love With Some Kind Of An Artist (3:26) 6. I Was Expecting A Friend (2:11) 7. This Time You’re Wrong / Dining With Craig (2:10) 8. The Surprise (2:08) 9. This Grotesque Joke Of Yours Has Gone Far Enough (2:30) 10. Don’t Make Me Do It! (1:54) 11. In Exactly 55 Minutes, I Will Be Dead / End Credit (1:54) 12. Prologue / Main Title / Dictation (Alternate) (3:55) TREASURE OF MONTE CHRISTO 13. Prelude / Main Title / Mason Gets It (3:39) 14. Dantes Rescues Adele / Dantes and Adele Leave (2:11) 15. Reno Montage / Honeymoon Suite (1:50) 16. Dantes Climbs Building (3:08) 17. Dantes Indicted / Adele Slapped / Jury Chosen (1:50) 18. The Escape (1:58) 19. Juke Box (1:57) 20. Hospital Scene (3:19) 21. Two Things, You’re The Second (1:00) 22. Dantes Searches Files (3:41) 23. Hold It! / Jackson Gets Shot (3:20) 24. End Title (2:22) Total Time: 65:23 Dragon’s Domain Records proudly presents the fifth volume in our ongoing series of music from classic science-fiction films, a double feature of music from two beloved films, INVADERS FROM MARS and THE TERRORNAUTS. Paris-born Raoul Kraushaar is credited as the composer for the original INVADERS FROM MARS. He served as both composer and music editor for Republic Studios, where the film was shot, though many sources believe the music was actually written in whole, or in part, by unsung studio composer Mort Glickman. Unlike most low-budget films of that era, the movie had a healthy music budget allowing the inclusion of an 8-person choir. Our companion piece, THE TERRORNAUTS, is another score composed by the woefully under represented Elisabeth Lutyens. By accepting commissions to write scores for both the Hammer and Amicus studios, she became Britain’s first female feature film composer, affectionately known as the “Queen of the Horror Movies.” In the mid-1960s, Amicus Productions’ chief Milton Subotsky created a double feature package with plots sourced from two novels with THE TERRORNAUTS based on Murray Leinster’s “The Wailing Asteroid.” Directed by Montgomery Tully, the film has all the disheveled charm of a classic DOCTOR WHO TV episode, yet it holds together thanks to a tight script written by Hugo Award-winning author John Brunner. A group of scientists, monitoring signals from outer space are transported to a base on a nearby asteroid and tasked to defend the Earth from an invading fleet. This fifth volume in Dragon’s Domain Records series has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali and comments from scholar Erik Homenick (akiraifukube.org) on the music featured on the album. THE GOLDEN AGE OF SCIENCE FICTION VOL. 5 is a limited edition release and is expected to begin shipping the week of July 15th, 2024. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. INVADERS FROM MARS (1953 - Raoul Kraushaar) 01. Main Title (From “Invaders From Mars”) (2:17) 02. Something Lands (2:22) 03. David’s Fear (2:53) 04. Cathy Returns & David Meets Dr. Pat (3:31) 05. The Martians Are Here (4:00) 06. Army Surrounds The Sand Pit (3:44) 07. Evidence of Martian Invaders (3:48) 08. David’s Parents Caught (4:19) 09. Inside The Spaceship (6:31) 10. Army vs. The Martian Mutants (5:03) 11. The End Of A Dream? (2:29) 12. (Invaders from Mars 1953) Theatrical Trailer (2:16) THE TERRORNAUTS (1967 - Elisabeth Lutyens) 13. Main Title (From “The Terrornauts”) (1:45) 14. The Stars Answer Our Call (4:01) 15. Asteroid Base (2:43) 16. The Mission (3:40) 17. The War In Space (2:40) 18. End Titles (0:53) 19. The Terrornauts (1967) Theatrical Trailer (1:43) 20. Alien Signal / Robot Instructs / Defense Rocket Strike FX (From “The Terrornauts”) (1:39) Total Time 63:12 Dragon’s Domain Records presents THE BEST OF THE FAIRYTOPIA SAGA, featuring music composed by Eric Colvin for the computer-animated fantasy films FAIRYTOPIA, MERMAIDIA, MAGIC OF THE RAINBOW and MARIPOSA. One of the longest running, highest selling and most adored toy properties in the history of children’s toys is a high-fashion accessory doll named Barbie, created by Ruth Handler for Mattel in 1959. Although Barbie has been around for sixty-five years, it’s only been in the last twenty-five years that Barbie has made appearances in made-for-television animated specials. One particular series of films features Barbie as a wingless fairy named Elina, beginning with FAIRYTOPIA in 2005 and continuing with three follow-up movies, MERMAIDIA, MAGIC OF THE RAINBOW and MARIPOSA. Once upon a time, in a magical realm known as Fairytopia, there lived a beautiful flower fairy named Elina who lived with her puffball, Bibble. Unlike other flower fairies, Elina did not have wings, an unfortunate condition for which she was mercilessly ridiculed. One day, Elina discovers that one of the guardians of Fairytopia has been kidnapped and only she has the power to bring her home... The music for the FAIRYTOPIA series was composed by Eric Colvin, who has worked as a composer, musician, conductor and synthesizer. His works as composer includes MONTE WALSH, CROSSFIRE TRAIL, NASCAR: THE IMAX EXPERIENCE, MURDER SHE PURRED: A MRS. MURPHY MYSTERY and more. Colvin has also worked as a record producer and as a scoring assistant, keyboard performer, arranger and orchestrator for other composers including Basil Poledouris. For the FAIRYTOPIA films, Colvin was encouraged to utilize “old-school” thematic scoring techniques using specific instruments and leitmotifs to represent various characters, concepts, and locations peppered throughout the narrative of all four films. While the music budget was low for these films, the composer was able to create beautiful orchestral music that was all achieved in the box: no live players, just the Vienna Symphonic Library, two GigaStudios, and a sequencer. Dragon’s Domain Records presents THE BEST OF THE FAIRYTOPIA SAGA on two CDs, featuring music composed by Eric Colvin for the popular series of FAIRYTOPIA films. The liner notes are written by author and composer Brian Satterwhite, featuring the participation of the composer. The music has been mastered by James Nelson at Digital Outland. THE BEST OF THE FAIRYTOPIA SAGA is on two CDs as a Disc-On-Demand release and is expected to begin shipping the week of July 15th and can be ordered at www.buysoundtrax.com. The first 50 copies sold through our website will include an autograph by the composer. CD 1 FAIRYTOPIA 01. Fairytopia Main Title/Magic Meadow (3:38) 02. Fairy Wings Guide Your Way/ Flower Ride (4:35) 03. Meet Azura/Azura Tells Of Laverna (4:48) 04. Fungus Captures Azura / Get Back Here (2:50) 05. Evading Firebirds/Wildering Wood/Hugh Needs Rest (4:31) 06. Laverna is Conquered (8:56) MERMAIDIA 07. Bibble’s Being Followed / Naloo’s In Trouble/Let’s Find Naloo/Meet Max (3:37) 08. Vail of Poison/Looking For Clues/Meet Nori/What Sea Butterfly?/Nori Rejects Elina (4:02) 09. Going Underwater/Carousel of Confusion (4:42) 10. Where The Merfairies Live/Race Is On (4:01) 11. Faux Delphine/I Think You’re Delphine (2:26) 12. You Must Prove Yourselves/Wishing Pearls/To The Depths Of Despair (2:26) 13. Struggle To The Depths 5:21) 14. Mirror Of The Mist/Max Finds The Immunity Berry (3:56) 15. Crest Of Courage/Bibble Pops The Bubble/It’s That Way/Geyser Challenge (3:16) 16. Berry Cave/Naloo Hanging Upside Down/Naloo Is Freed/Behold The Immunity Berry! (3:32) 17. Laverna The Toad/Back At The Meadow (3:46 Total Time, CD 1: 71:07 CD 2 MAGIC OF THE RAINBOW 01. Lyndon & The Tumble/Dorm Arrival/Fabulous Faben (4:13) 02. Bibble Meets Dizzle/Reluctant Goodnight (4:12) 03. Guardians Arrive/Lumina’s Foreshadowing/Water Control/Laverna Plotting (4:28) 04. Sunburst Is Steamed/Luminescence Fizzled/Elina & Sunburst Light Fight (4:16) 05. Preparing For The Flight of Spring (11:33) 06. Flight of Spring/Laverna Defeated (12:01) Mariposa 07. Mariposa Main Title (3:39) 08. We’re Gonna Be Late/Demanding Sisters/Nothing To Wear (4:18) 09. Gastros Boasts / Reading The Same Book (2:07) 10. The Prince Is In Danger/For Hope/Carlos Behind Bars (4:12) 11. Chased by Skeezites (4:10) 12. Lonely In The Bewilderness/Crazy For Fluttercorn/Spying (4:00) 13. Down To The Water Worlds/The Sea Beast/Monster’s Mouth (5:17) 14. Flutterfield Saved (8:01) Total Time, CD 2: 77:03

Wird ja auch Zeit 😜

Nun bekommt auch VILLAGE OF THE DAMNED eine 4K-UHD-Box mit Vinyl-Single spendiert. Diese enthält wieder Neuaufnahmen aus dem Score, die bisher nicht veröffentlicht wurden oder nur in den exklusiven Sets enthalten waren („March of the Children" gab es auf einer Vinyl-Single zum ersten Anthology-Album, „Children's Carol" ist bisher unveröffentlicht). "A good-looking, well-wrought film with some knockout special effects…" – Kevin Thomas, Los Angeles Times Master of horror and suspense John Carpenter brings you a chilling take on a terrifying classic. Something is terribly wrong in the tiny village of Midwich. After an unseen force invades the quiet town, ten women mysteriously find themselves pregnant. Local physician Dr. Alan Chaffee (Christopher Reeve) and government scientist Dr. Susan Verner (Kirstie Alley) join forces when the women simultaneously give birth ... and the reign of supernatural terror begins. Linda Kozlowski, Michael Paré, Meredith Salenger, and Mark Hamill also star in this sci-fi shocker that The New York Times called "one scarifying trip." Enjoy your stay in Midwich ... but keep an eye on the children. This edition includes the new UHD 4K/Blu-Ray release of the film with a limited-edition collectible slipcover packaging with newly-commissioned art and a Sacred Bones exclusive transparent yellow and green splatter 7” featuring “March of the Children" and "Children's Carol", all newly recorded by John Carpenter along with his collaborators Cody Carpenter and Daniel Davies. Limited to 300 copies. BONUS FEATURES: (DISC 1) UHD NEW 4k Transfer From The 35mm Original Camera Negative Presented In Dolby Vision Audio: DTS-HD Master Audio 5.1 Surround & 2.0 Stereo NEW Audio Commentary With Filmmakers Jackson Stewart And Francis Galluppi (DISC 2) Blu-Ray Disc NEW 4k Transfer From The 35mm Original Camera Negative Audio: DTS-HD Master Audio 5.1 Surround & 2.0 Stereo NEW Audio Commentary With Filmmakers Jackson Stewart And Francis Galluppi NEW "Beware The Stare: Writing Village Of The Damned" - Interview With Screenwriter David Himmelstein NEW "March Of The Children: Composing Village Of The Damned" - Interview With Film Music Historian Daniel Schweiger It Takes A Village - The Making Of Village Of The Damned Horror's Hallowed Grounds - Revisiting The Locations Of The Film The Go To Guy - My Career With John Carpenter By Peter Jason Vintage Interviews And Behind-The-Scenes Footage Image Gallery Theatrical Trailer Release Date: 9/24/2024

Kommt am 08. Juli.

LAST ACTION HERO: REMASTERED & EXPANDED LIMITED EDITION (2-CD SET) LLLCD 1645 Music by Michael Kamen Limited Edition of 3000 Units RETAIL PRICE: $31.98 STARTS SHIPPING JULY 9 Available to order starting 12 noon pst on JULY 2 at www.lalalandrecords.com La-La Land Records, Columbia Pictures and Sony Music proudly present a remastered and expanded 2-CD limited edition re-issue of renowned composer Michael Kamen’s (LETHAL WEAPON 1-4, DIE HARD, X-MEN) original motion picture score to the 1993 big screen, action-comedy epic LAST ACTION HERO, starring Arnold Schwarzenegger and directed by John McTiernan. Both a broad send-up and a legit celebration of high-octane action cinema blockbusters, LAST ACTION HERO called upon legendary composer Michael Kamen to provide yet another classic action score in his grand and unique fashion. The maestro behind the iconic LETHAL WEAPON and DIE HARD franchises (not to mention ROBIN HOOD: PRINCE OF THIEVES, THE LAST BOY SCOUT, LICENCE TO KILL and more) proved to be the perfect pitch choice and LAST ACTION HERO is a notable work in Kamen’s canon – a dynamite, thematic fusion of classic orchestra and driving rock riffs. Produced by Neil S. Bulk and mastered by Doug Schwartz from original digital stereo mixes, this deluxe, remastered release is greatly expanded beyond the original 1993 score album, featuring the Score Presentation spread across two CDs. Disc Two also houses the remastered 1993 score album, as well as additional music. Limited to 3000 units, the release boasts exclusive, in-depth liner notes by writer Al Kaplan, including new comments from the film’s director, John McTiernan and score orchestrators William Ross and Michael McCuistion. The blockbuster art direction is by Dan Goldwasser. TRACK LISTING: DISC 1 (72:35) SCORE PRESENTATION 1. Jack Slater Enters / Ripper 5:21 2. Danny (Film Version) 0:47 3. Jack Hamlet (Extended Version) 1:15 4. Kidney 1:10 5. Mugger / Ticket 4:21 6. Vivaldi’s 3:22 7. Frankie 3:06 8. The Kid Gets In The Picture 0:42 9. River Chase 2:48 10. Interrogation 2:26 11. Drive To Vivaldi’s 1:49 12. Benedict With Dogs 3:42 13. Kiss 1:15 14. Ripper Flashbacks 2:00 15. Benedict At Whitney’s 4:15 16. Jack Skylight 1:59 17. Catch The Red Eye / Bicycle Chicken 1:51 18. Benedict 2:43 19. Skeezy 0:46 20. Practice (Film Version) 0:38 21. Viv 1:30 22. To The Hotel / Practice Screws Up 4:51 23. Leo Dead / Jack Snatches Leo 3:16 24. Leo The Fart (Extended Version) 4:35 25. Whitney Arrives 0:41 26. Killing Vivaldi 2:04 27. Thru The Screen 1:41 28. Taxi Chase / Chicken Again 3:17 29. The Real World 3:41 DISC 2 (75:36) SCORE PRESENTATION (cont.) 1. Benedict In New York 3:43 2. Benedict Gets The Ticket (Film Version) 3:18 3. Premiere (Film Version) 6:49 4. The End Of The Ripper 0:54 5. Saving Danny 1:37 6. Benedict Death / Ambulance 4:35 7. Ambulance Driver / Theatre 3:16 8. Big Mistake (Film Version) 5:03 TOTAL SCORE TIME: 102:03 ADDITIONAL MUSIC (5:12) 9. Mugger (Without Overlay) 2:25 10. Leo Dead (With Overlay) 2:03 11. Whitney Arrives (Without Drums) 0:41 ORIGINAL MOTION PICTURE SCORE ALBUM (40:45) 12. Jack And The Ripper 3:44 13. Danny 4:22 14. Jack Hamlet 1:12 15. River Chase 2:47 16. Benedict 2:43 17. Practice 4:17 18. Leo The Fart 4:27 19. Benedict Gets The Ticket 3:17 20. The Real World 3:40 21. Premiere 3:17 22. Saving Danny 1:37 23. Big Mistake 4:51 TOTAL COLLECTION TIME: 148:11 This is a CD format release.

Snow Files of the Week: „Suite" aus „Pasadena" (2001). „Pasadena" war eine sehr kurzlebige Serie, in der die Hauptfigur, Lily McAllister, einen Selbstmord beobachtet und daraufhin Nachforschungen anstellt, die sie auch in ihre eigene, reiche Familie, den Greeleys, führen. 13 Episoden wurden produziert, aber nach nur vier Folgen wurde die von Kritikern gelobte Serie abgesetzt aufgrund schlechter Einschaltquoten. Als Grund dafür sah man den zeitnahen Start der Serie nach den Anschlägen des 11. September 2001, nach dem die Menschen wohl erst mal keine große Lust auf düstere und zynische Serien hatten. Marks Musik bewegt sich in vertrauten Gefilden. Er vertonte das Seifenoper-Krimi-Drama ähnlich wie die X-Akten. Mal abgesehen vom Main Theme, welches wie die Musik einer Spieluhr klingt. Ansonsten gibt es auch hier die sphärischen Chöre, die schimmernden Klangflächen und ein paar schrullige Einwürfe des Main Themes, mit Percussion und stampfenden Beats. Das Album mit der Musik wurde digital von Buysoundtrax/Dragon's Domain veröffentlicht und ist als Download und Stream verfügbar. Viel Spaß beim Hören!

Dann ist der Preis für die Box umso unverschämter.

Wenn du die Platten einzeln kaufst, kommst du mit knapp 100 Dollar weniger weg. Das ist ja auch der Witz an der CD-Box. Mit einem Einzelkauf der CDs käme es einem wesentlich günstiger. Der einzige Mehrwert ist da die Papp-Box, die einen dann knapp 80 Euro kostet. Klar, DIAL OF DESTINY gibt es einzeln als CD nicht mehr. Daher scheint Disney das auch zum Anlass zu nehmen, die CD-Box so zu überteuern. Denn einige werden da sicherlich zuschlagen, wenn sie nicht mehrere hundert Euro auf eBay für DIAL OF DESTINY ausgeben wollen.

For Love of the Game (1999) reunited Kevin Costner with one of his most popular subjects—baseball—as he starred as an aging pitcher who throws a perfect game at Yankee Stadium while reflecting upon his long-term relationship. An unexpected choice of material for director Sam Raimi, the film was lauded for its depiction of the sport and its uplifting Americana score by Basil Poledouris. By the late 1990s, Poledouris was renowned for his mastery of a film scoring genre that was, in a way, coming to its end: the romantic, orchestral depiction of masculinity. From barbarians to cyborg cops, cowboys to submariners, Poledouris found the beating heart of heroic male characters who upheld virtues of honor, loyalty and duty, while allowing themselves to be vulnerable to their loved ones. Costner’s Billy Chapel—pitching in his very last game—was an ideal protagonist, and Poledouris responded with a rich, warm, melodic score that goes from the grandeur and scope of America’s national pastime, to the romantic yearning and intimacy of its very human hero. The score navigates a range of orchestral size—from fully symphonic to heartfelt solos—as well as genre, with pop and R&B brought in for contemporary emphasis. For Love of the Game was released as 10-track, 33-minute CD from Varèse Sarabande at the time of the time. The program has been expanded to 35 tracks and over 78 minutes for this Deluxe Edition, with Daniel Schweiger’s liner notes incorporating interview material from Raimi, Poledouris, and the composer’s agent, Richard Kraft. Limited edition of 2,000.d Produced by: Basil Poledouris, Tim Boyle and Mi Kyoung Chaing Edited by: Curtis Roush Mixed by: Tim Boyle Mastered by: Chas Ferry & Melinda Hurley Track Listing: 1. Main Theme (from For Love Of The Game) 3:35 2. New York (not in final film) 2:41 3. Billy Traded 2:22 4. Run To Park 0:55 5. Park Farewell 1:44 6. Locker Room 0:49 7. Clouds 1:47 8. Tuttle Knockdown 1:50 9. Tuttle Out 1:37 10. Cat And Mouse 1:05 11. Jane To Game 1:47 12. Jane Putdown 0:42 13. Torn Dollar Bill (not in final film) 1:20 14. Dinner (1:03) / Elevator (0:32) 1:35 15. OK, Billy Chapel 0:55 16. Birch Strikeout 3:01 17. For Love Of The Music (not in final film) 1:50 18. Hard Pitching 1:48 19. Old School 1:37 20. Heather Comes Along 0:44 21. Jane’s Home 4:59 22. Relationship Montage (Pt. 1) 3:38 23. Gus Hits It 1:18 24. Accident 3:11 25. Coming Back? 0:37 26. Lemonade 2:12 27. Doesn’t Matter Anymore 1:04 28. No Hits 4:49 29. Mickey’s Save 2:50 30. The Decision 5:19 31. Can’t Get Clear 2:42 32. Last Pitch 5:19 33. Gus Farewell 0:53 34. Apology 1:55 35. I Need You 3:09

Miklós Rózsa’s penultimate film score comes to a comprehensive two-disc Deluxe Edition featuring both the film recording (previously unreleased) and album version. Eye of the Needle was a WWII thriller based on a 1978 novel by Ken Follett, starring Donald Sutherland as a Nazi spy living in England. Stranded on a Scottish island while trying to return to Germany with vital war information, he starts a torrid romance with the unhappy and lonely wife (Kate Nelligan) of the local shepherd. Richard Marquand’s direction so impressed George Lucas that it won him the job of directing Return of the Jedi. By the early 1980s, Miklós Rózsa was the only major Golden Age composer still alive and laudably writing the same kind of timeless symphonic score that made him a Hollywood institution. His grand, sweeping music for Eye of the Needle is unabashedly romantic—vintage Rózsa—at turns suspenseful and brooding, pastoral and uplifting. It magnificently connects the film to its period while enhancing the emotion and drama. Rózsa recorded his music for Eye of the Needle twice: first for the film, with the Royal Philharmonic Orchestra in London, and then in an album version with the Nuremberg Symphony Orchestra in Germany. While the 13-track, 42-minute album (on disc two) has been released by Varèse Sarabande, this is the premiere release of the 23-track, 61-minute film version (on disc one)—making for the ultimate Eye of the Needle release, with new liner notes by Rózsa expert Frank K. DeWald. Limited edition of 2,000. Produced by: Mike Matessino and Cary E. Mansfield Edited by: Mike Matessino Mixed by: Eric A. Tomlinson (Original Motion Picture Soundtrack Scoring Mixer), Willy Luther (Original Motion Picture Score Album Recording Mixer) Mastered by: Mike Matessino Track List: Disc One: The Original Motion Picture Soundtrack Performed by The Royal Philharmonic Orchestra 1. Prelude From Eye Of The Needle 1:57 2. English Wedding (Film Version) 1:27 3. The Boarding House / The Needle Strikes 1:30 4. Storm Island / The Blond Agent 2:21 5. The Bedroom 2:02 6. Blondie’s End / The Needle 3:18 7. Camouflage / Pursuit 4:28 8. Search On The Train / Confrontation 2:49 9. Escape / The Boat 2:24 10. The Meeting 1:14 11. Love Scene / No Regrets 2:37 12. Heartbreak / The Transmitter 1:49 13. The Fight (Film Version) 2:46 14. Passion (Film Version) 1:43 15. Frantic Drive (Film Version) 1:09 16. Despair / Realization 3:26 17. The Broken Heart / Revulsion (Film Version) 3:11 18. Escape (Film Version) 6:00 19. The Gun 1:20 20. The Axe / The Firebomb 2:28 21. The Hostage / The Lamp (Film Version) 3:18 22. Retribution (Film Version) 4:18 23. Finale / Epilogue From Eye Of The Needle 2:58 Disc Two: The Original Motion Picture Score (Album Recording) Performed by The Nuremberg Symphony Orchestra 1. Prelude From Eye Of The Needle 2:13 2. English Wedding 1:56 3. The Blond Agent / Blondie’s Death 2:54 4. Camouflage 3:08 5. Love Scene 1:56 6. The Fight 3:06 7. Passion / Love Theme 4:28 8. Frantic Drive / Despair 3:05 9. The Broken Heart / Revulsion 2:54 10. Escape 4:33 11. The Hostage / The Lamp 3:21 12. Retribution 4:40 13. Finale / Epilogue From Eye Of The Needle 3:19

THE SUGARLAND EXPRESS Original Motion Picture Soundtrack LLLCD 1650 Universal Pictures Film Music Classics Collection Music composed and conducted by John Williams Limited Edition of 5000 Units RETAIL PRICE: $22.98 La-La Land Records and Universal Studios proudly present the twenty-first title within the acclaimed Universal Pictures Film Music Classics Collection – THE SUGARLAND EXPRESS, a world premiere release of music from the original soundtrack for the very first collaboration between director Steven Spielberg and composer John Williams (JAWS, E.T., SCHINDLER’S LIST). Celebrating its 50th anniversary, THE SUGARLAND EXPRESS, released in 1974, stars Goldie Hawn as a Texas mother who breaks her husband (William Atherton) out of a prison farm when she is denied custody of their baby. Together they hijack a highway patrolman (Michael Sacks) and lead a convoy of media, onlookers, and countless police cars across the state. Spielberg’s first feature film balances comedy, drama and action in what Pauline Kael of The New Yorker called “one of the most phenomenal debut films in the history of movies.” Although Williams’ score never received a prior album release, the 50th anniversary of his historic partnership with Spielberg, along with a revisitation of the film for Universal Studios’ new 4K restoration, yielded the proper conditions to at last create an original soundtrack, which now takes a place of honor in the successful Universal Studios Film Music Classics Collection. While Spielberg originally hoped for a larger scale score for his first movie, Williams convinced him that THE SUGARLAND EXPRESS called for something more intimate. The great Belgian harmonica soloist Toots Thielemans became the principal musical voice of the film, supported by an ensemble of top guitarists and percussionists and a small string ensemble. The resulting music reflects the complex characters and the building tension of the story, with a bluesy, country vibe evoking the landscape and cultural backdrop of the tale. The album presentation, produced by the composer, delivers a distinctive musical journey and features material not used in the completed film. Classics Collection producer Mike Matessino mixed, edited and mastered the album from high resolution transfers of pristine 8-track master tapes, archiving the material as well as conforming the music for a new stereo mix of the film. Matessino also contributes in-depth liner notes detailing the history of the production, the creation of the music, and its place in the legendary Spielberg/Williams collaboration. Art direction by Jim Titus appropriately celebrates this historic premiere release. TRACK LISTING: MUSIC COMPOSED AND CONDUCTED BY JOHN WILLIAMS 1. The Sugarland Express – Main Title 1:29 2. Freedom At Last :46 3. The First Chase 2:32 4. Taking The Jump 1:48 5. The Caravan Forms 2:01 6. To The Roadblock 1:27 7. Sugarland Dance 1:38 8. Road Ballad 2:05 9. Out Of Gas 2:24 10. Trading Stamps 1:14 11. Police Cars Move 1:00 12. Along The Route 1:18 13. Man And Wife 2:09 14. Franklyn Falls :29 15. Sealing The Bargain 1:27 16. The Deputies Arrive :55 17. The Onlookers 1:02 18. Open Highway 2:04 19. Pursuit 1:51 20. Over The Next Hill 1:04 21. Setting The Trap 1:41 22. Last Conversation 2:00 23. The Final Ride 3:36 24. The Sugarland Express – End Title 1:45 Total Album Time: 40:31 This is a CD format release.

Von Quartet auf CD und Vinyl: Quartet Records, in collaboration with Carosello Edizioni Musicali, presents a definitive, expanded 2-CD edition of Ennio Morricone’s celebrated score for a 1971 Italian thriller, GIORNATA NERA PER L’ARIETE (aka THE FIFTH CORD), directed by Luigi Bazzoni and starring Franco Nero, Silvia Monti, Ira Von Fürstenbergm Edmund Purdon, Pamela Tiffin and Agostina Belli. Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. GIORNATA NERA PER L’ARIETE shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film. As with many of his giallos, Ennio Morricone's score for GIORNATA NERA PER L'ARIETE was never released on an album (only the main theme was included in the Morricone compilation album COLORI in 1971). In 1996, under the composer's supervision, the Point label released the first official album of the score. In 2001, Dagored expanded the program to 10 minutes, and it was expanded again for release in Japan in 2007 on the Verita Note label. But despite these expansions, there was still a large amount of music recorded by Morricone that remained unreleased. For this new Quartet edition, the score has been fully restored, remixed and edited by Daniel Winkler from the original tapes of the recording session, presenting the complete score as Morricone conceived it on disc 1. Disc 2 contains the original remastered album prepared by Morricone in 1996, as well as several alternates. This CD has been mastered by Chris Malone, supervised by Claudio Fuiano, and includes a 20-page booklet with in-depth liner notes by film music writer Jeff Bond. DISC ONE The Film Score 1. Paura e aggressione 2:41 2. Giornata nera per l’ariete – Titoli 2:36 3. Giocoso, gioioso 3:23 4. II ripresa 0:52 5. La voce bella 1:01 6. Voce 3:04 7. Giornata nera 1:10 8. Giornata nera per l’ariete 3:17 9. Giornata nera 1:26 10. Un organo suona 1:12 11. Severamente 3:34 12. Paura e aggressione 1:20 13. Severamente 1:50 14. Punte d’ago 1:33 15. Punte d’ago 1:34 16. Paura e aggressione 3:16 17. Paura e aggressione 2:49 18. Voce seconda 2:3 19. Paura e aggressione 2:53 20. Giornata nera 1:27 21. Giornata nera 1:32 22. La voce bella 3:53 23. Voce 2:02 24. Severamente 2:59 25. Giornata nera per l’ariete 2:06 26. Giornata nera per l’ariete 2:06 27. Resa 3:30 28. Trafelato 5:01 29. Ripresa 5:34 30. Giornata nera per l’ariete 3:34 Total Disc One Time: 77:52 DISC TWO The Original Album 1. Giornata nera per l’ariete 2:36 2. Punte d’ago 3:05 3. Severamente 5:18 4. Paura e aggressione 5:40 5. Giornata nera per l’ariete 3:16 6. La voce bella 3:34 7. Voce 2:01 8. Resa 2:20 9. Trafelato 2:30 10. Giornata nera 1:26 11. Ripresa 2:50 12. Giocoso, gioioso 3:23 13. II ripresa 0:49 14. Voce seconda 2:35 15. Giornata nera 1:32 16. Un organo suona 1:07 17. Giornata nera per l’ariete 3:33 Bonus Tracks 18. Giornata nera per l’ariete (Alternate) 1:53 19. Paura e aggressione (Alternate) 2:37 20. Voce (Alternate) 1:54 21. Giornata nera per l’ariete (Alternate) 2:39 Total Disc Two Time: 58:34 Total Collection Time: 136:26 Quartet Records, in collaboration with Carosello Edizioni Musicali, presents a definitive, expanded 2-LP edition of Ennio Morricone’s celebrated score for 1971 Italian thriller GIORNATA NERA PER L’ARIETE (aka THE FIFTH CORD), directed by Luigi Bazzoni and starring Franco Nero, Silvia Monti, Ira Von Fürstenbergm Edmund Purdon, Pamela Tiffin and Agostina Belli. Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. GIORNATA NERA PER L’ARIETE shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The lullaby-like theme has a timeless quality, providing a disturbing and disarming melody for the film. As with many of his giallos, Ennio Morricone's score for GIORNATA NERA PER L'ARIETE was never released on an album (only the main theme was included in the Morricone compilation album COLORI in 1971). In 1996, under the composer's supervision, the Point label released the first official album of the score on CD. The first vinyl edition was released by Dagored on a generous LP in 2001. It was subsequently released by Spettro in 2016, this time using the same program that Morricone had produced in 1996. For this new deluxe, 2-LP Quartet release, the music has been fully restored, remixed and edited by Daniel Winkler from the original session tapes, presenting the first vinyl edition of the complete score as Morricone conceived it for the film. It has been specially mastered for vinyl by Chris Malone, and is presented in a luxurious gatefold jacket printed in transparent bloody red and giallo splatter.

Kommt wieder von Quartet: Quartet Records, in collaboration with Universal Music France and the Ecoutez le cinema ! Collection, presents a reissue of the long out-of-print expanded release of Jerry Goldsmith’s masterpiece for Franklin J. Schaffner’s 1973 prison drama PAPILLON. The bestselling autobiography of Henri Charrière, one of the few people to successfully escape from the notorious French penal colony of Devil’s Island, served as the basis for PAPILLON. Steve McQueen plays the pugnacious Charrière (known as “Papillon” because of a prominent tattoo), incarcerated—wrongly, he claims—for murdering a pimp. He saves the life of fellow convict Louis Dega (Dustin Hoffman), a counterfeiter who will later show his gratitude by helping Charrière in his many escape attempts and by smuggling food to Charrière when the latter is put in solitary confinement. PAPILLON was an expensive French production by Robert Dorfman, with financial support from some American studios. When Schaffner entered the project, he wanted to score the film with his favorite composer, Jerry Goldsmith, with whom he had already made three films, including the classics PLANET OF THE APES and PATTON. After PAPILLON, Goldsmith had the opportunity to compose another three magnificent scores for Schaffner: ISLANDS IN THE STREAM, THE BOYS FROM BRAZIL and LIONHEART The Academy Award-nominated score of PAPILLON is among the best and most celebrated of Goldsmith’s scores, and one of his personal favorites. It features a memorable main theme (a “Montmartre-like tune”), Impressionistic passages à la Debussy, intense and dramatic music, all colorfully orchestrated by Arthur Morton. This release is a straight reissue of the previous Quartet edition from 2017 that was carefully remixed and mastered by Mike Matessino from the multi-track session masters, recorded in Italy and preserved in mint condition. It features every note Goldsmith recorded for the film, including music ultimately not featured in the final cut, extended versions of some cues trimmed during film editing, and alternates. There is also a generous selection of source music specially arranged by Alexander Courage and conducted by Goldsmith (these cues are quite important in the film, since they appear in Papillon’s dreams and in the band concert during the escape). The 20-page full-color booklet includes liner notes by producer Stéphane Lerouge and by John Takis, who provides a comprehensive track-by-track analysis.

Kommt am 25.06.

Snow Files of the Week: "Big Yellow House/Exterminated" aus "MillenniuM", Episode "Pilot" (1996). Als die X-Akten in die vierte Staffel gingen, startete Chris Carters zweite Serie "MillenniuM". Die erste Folge erreichte die höchste Einschaltquote, die der Sender FOX je bei einer Pilot-Folge einer Serie verzeichnen konnte. Die Folge wurde sogar in ausgewählten Kinos gezeigt. Das Zuhause der Familie Black, das große gelbe Haus, ist ein Ort der Sicherheit für Frank Black. Hier kann er seiner Familie ein normales Leben bieten, abgeschirmt von der düsteren Welt da draußen, zumindest glaubt er das. Wenn man die Serie genau verfolgt, wird man feststellen, dass alle Szenen, die in oder um das gelbe Haus herum spielen, einen goldenen Schimmer haben, während der Rest in der "echten" Welt eher in ausgewaschene, düstere Farben getaucht ist. Mark benutzt eine Variation des Hauptthemas, um die Einführung des gelben Hauses zu untermalen. Seine sanften Streicher, kombiniert mit der Solo-Violine, erzeugen einen Ort des Friedens, aber spiegeln auch die Schrecken, die außerhalb warten, wieder. Die Stücke stammen vom ersten Set von LLL. Dieses wurde 2008 veröffentlicht und war zwei Jahre später ausverkauft. 2015 veröffentlichte LLL das Set noch einmal, limitiert auf 1000 Stück. Viel Spaß beim Hören!